Agnieszka Polska

A group of actors centered around one charismatic director are getting ready to compete for work on a new film. They all want to get closer to him and wil do anything to make it work.

Polska’s unsettling perspective on humanity takes the form of an animated child-faced sun with melancholy eyes. Digitally sourced images paint a frantic image of a crumbling world. From a distance, the sun jokes about environmental issues and comments on the tumultuous times in which the world finds itself.

The animated video The New Sun incorporates a character of the Sun: a child-faced star with a beautiful voice. In its half-sung, poetic monologue, the Sun directs its lover, a human - and in an unsettling manner, presents a gloomy vision of a collapsing world, where the only lasting and immutable elements are the words and language. The Sun‘s speech is a juggle of styles and moods: it goes from the elevated and emotionally-charged confessions to the goofy stand-up comedy, and ends up with an interpretation of „I got love“, a song from the 1970 musical Purlie. The general ambiance of the film is dark, but the sung monologue leaves a space for hope and marks the significance of words as tools of social responsibility.

The Book of Flowers is a short film that combines Artificial Intelligence-powered animation with the 16 mm film post production. The film is made in an experimental educational-like format, where static, animated sequences of time-lapse flowers are accompanied by music and the voice-over of a narrator.

Film presents an allegorical story of a society, where time is being measured by the movements of daily-use objects rotating around the planet: the Marlboro butt, bottle cap and sticking plaster. In the humorous fashion, the narrator describes the conventionality and arbitrariness of norms implemented on society.

In this videowork Agnieszka Polska looks into experiences of closeness and distance in times of the pandemic

a short film presenting the historical and cultural connotations of the figure of Mermaid in the context of Eastern European history. In a poetic fashion, film attempts to describe the Syren as a symbol representing Polish identity crisis, rooted in the annihilation of the pagan history during the Christian colonization of the region in the X-th century. The filmic character presents itself as a being not able to be classified in any social or biological category.

I Am the Mouth II features a pair of disembodied lips that are half-submerged in water, whispering seductively about the mechanisms by which words, in the form of sound waves, make their way through various materials including the viewer’s own body. The steady tone of the voice emanating from the lips hypnotizes the listener, revealing the subliminal influence artists have on their audiences.